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Will Right, the creator of The Sims game, was inspired by Stanislaw Lem’s “The Cyberiad”.

The “Seventh Sally or How Trurl’s Own Perfection Led to No Good” tells the story of Trurl the Constructor, who during one of his sallies met a frustrated king. The grumpy monarch has been deposed by his subjects because of his purported cruelty and left alone on a desert asteroid. Trurl wanted to cheer his up and decided to build a special toy for him: a miniature kingdom to rule.

And so, rolling up his sleeves and summoning up all his mastery, Trurl built the king an entirely new kingdom. There were plenty of towns, rivers, mountains, forests and brooks, a sky with clouds, armies full of derring-do, citadels, castles and ladies’ chambers; and there were marketplaces, gaudy and gleaming in the sun, days of back-breaking labor, nights full of dancing and song until dawn, and the gay clatter of swordplay. Trurl also carefully set into this kingdom a fabulous capital, all in marble and alabaster, and assembled a council of hoary sages, and winter palaces and summer villas, plots, conspirators, false witnesses, nurses, informers, teams of magnificent steeds, and plumes waving crimson in the wind; and then he crisscrossed that atmosphere with silver fanfares and twenty-one gun salutes, also threw in the necessary handful of traitors, another of heroes, added a pinch of prophets and seers, and one messiah and one great poet each, after which he bent over and set the works in motion, deftly making last-minute adjustments with his microscopic tools as it ran, and he gave the women of that kingdom beauty, the men—sullen silence and surliness when drunk, the officials—arrogance and servility, the astronomers—an enthusiasm for stars, and the children—a great capacity for noise.

Trurl equipped the miniature kingdom with knobs to adjust and control that allowed to issue edicts and regulations — so that the monarch would feel at home again.

Stanislaw Lem’s works can be roughly divided into fiction, essays, apocrypha (texts about non-existent texts) and complains about the literary critique. It may seem strange that a popular writer, whose books have been published all over the world, grieved that reviews did not do him justice. Over time, on both sides of the Iron Curtain enthusiastic, in-depth, competent articles started to appear, such as the extensive texts of „The New York Times Book Review”. However there were few general overviews combining elements shared by a number of works and presenting universal attributes of Lem’s literary output. Most lemologists — usually humanists — were somewhat crestfallen by the spectrum of knowledge and erudition of an author who „like an intellectual bulldozer with astonishing ease dug through all possible fields of human cognition”1. Lem’s reception was also disturbed by the stigmatizing „science fiction” label.

Chlorian Theoreticus the Proph, a character from Lem’s „Tale of the Three Storytelling Machines of King Genius,” is an ironically bitter self-portrait2 of the author himself — a writer and thinker ignored and underestimated by his contemporaries. The unfortunate Chlorian created works of art „saturated with the absolute,” brilliant masterpieces reaching the very core of the essence of things. After the (self) publication of his first book the philosopher expected to be welcomed by enthusiastic crowds:

As soon as this treatise appeared in print (at my own expense), I rushed out into the street, certain that the people would lift me up on their shoulders, crown me with garlands, shower me with gold, but no one, not even so much as a lame cybernerian, approached with words of praise.

One day king Genius, a monarch with a philosophical bent, commissioned from Trurl the constructor three story-telling machines that were to amuse him. Their multi-layered stories within stories, „One Thousand and One Nights” of the cybernetic age, grotesque and philosophical at the same time, are woven of encrypted clues, allusions, literary references and scientific hypotheses. One of them features Karl Marx, hidden from the censorship of then- communist Poland under the name of Malapusticus Pandemonius. The result of putting Malapusticus’ social utopias into practice results in — quite expectedly — „chaos and carnage, and a devastating decline in the vital voltage, an enervated emf and energy dissipation everywhere.”

For in the Beginning there was naught but Formless Darkness, and in the Darkness, Magneticity, which moved the atoms, and whirling atom struck atom, and Current was thus created, and the First Light… from which the stars were kindled, and then the planets cooled, and in their cores the breath of Sacred Statisticality gave rise to microscopic Protomechanoans, which begat Proteromechanoids, which begat the Primitive Mechanisms. These could not yet calculate, nor scarcely put two and two together, but thanks to Evolution and Natural Subtraction they soon multiplied and produced Omnistats, which gave birth to the Servostat, the Missing Clink, and from it came our progenitor, Automatus Sapiens…

After that there were the cave robots, the nomad robots, and then robot nations. Robots of Antiquity had to manufacture their life-giving electricity by hand, that is by rubbing, which meant great drudgery. Each lord had many knights, each knight many vassals, and the rubbing was feudal hence hierarchical, progressing from the lowly to the higher-up. This manual labor was replaced by machine when Ylem Symphiliac invented the rubberator, and Wolfram of Coulombia, the rubless lightning rod. Thus began the Battery Age, a most difficult time for all who did not possess their own accumulators, since on a clear day, without a cloud to tap, they had to scrimp and scrounge for every precious watt, and rub themselves constantly, else perish from a total loss of charge. And then there appeared a scholar, an infernal intellectrician and efficiency expert, who in his youth, doubtless owing to some diabolical intervention, never had his head staved in, and he began to teach and preach that the traditional method of electrical connection—namely parallel—was worthless, and they all ought to hook themselves up according to a revolutionary new plan of his, that is in series. For in series, if one rubs, the others are immediately supplied with current, even at a great distance, till every robot simply bubbles over with ohms and volts. And he showed his blueprints, and painted paradises of such parameters, that the old circuits, equal and independent, were disconnected and the system of Pandemonius promptly implemented.